话语

The reports of anthropologist's fieldwork also indicate that the facts of nonliterate society defiladed and distorted by literate society need a new cognition. The school of New Historism regards that there is no essential difference between historical narration and literatural narration, and something defiladed by narrative discourse will be ascertained, if a critical reflection could be hold.

来自人类学的田野报告也表明，无文字社会被文字社会的权力话语所遮蔽和扭曲的真相有待重新体认。20世纪80年代深受人类学影响而兴起的新历史主义学派认为历史叙事和文学叙事并无本质区别，只有带着高度警觉的批判眼光深入分析，才可以探查到被叙事话语所遮蔽的东西。

Famous translator George Steiner,his interpretational translation view is to emphasize the subjective position of translator.

语文学派着眼于原文的文学特征，注重话语的主题结构和风格，但他们的着眼点只在话语的源点而不在

Basing on the inspection , the study deems that Gendered Education has influenced deeply by Chinese traditional gender discourse which emphasizes gender differences.The educational tradition integrates the male and female simultaneously, but it was restrained by the fetter of Gender Essentialism.Gender-neutral Education is the production of education resulted from gender discourse of gender equality in modern China.The educational tradition has challenged Gender Essentialism in Gendered Education and endowed the male and female with the identical education right, but it actually has fallen into the Masculinism.

经考察，本文认为：性别化教育深受中国传统男女有别社会性别话语的作用与影响，这种教育传统虽将男女两种社会性别同时纳入教育系统，但受制于了性别本质主义的束缚；性别中立教育是现代中国男女平等社会性别话语作用于教育的产物，这一教育传统挑战了性别化教育传统中的性别本质主义，赋予了男女两性相同的教育权利，但却逐步陷入了男性中心主义。

This thesis, applying western postmodern- feminism as the theory background, and the social and history status of Chinese women as the culture background, tries to unveil the postmodernism spirit trend that demonstrated by Chinese feminine writing in 90s in the following three aspects: the establishment of female discourse power, orectic writing, the breakdown of maternity mythology, and under the guidance of this spirit trend, the persistency and hard work Chinese female writers has put in reconstructing feminine "detailed history", fighting oppression of the masculine discourse power and actively expressing her creativity and vitality.

本文以西方后现代女性主义批评理论作为阐释的理论背景，以中国女性的社会历史地位作为阐释的文化背景，结合90年代中国女性写作的实践，从女性话语权的树立、欲望化写作、母性神话的窥破这三个方面，力图揭示出90年代中国女性写作所展现出的后现代精神向度，及在这一精神向度的指引下，中国女性写作重构女性&具细的历史&、抗争男性话语权力的压抑、积极表现女性创造力与生命力的执著与努力。

In the use of phonological parody, two texts are involved, one being the parodistic text which is perceivable in the utterance, while the other being the original text which is invisible in the utterance but can be perceived by the communicators.

谐音仿拟的运用涉及两个文本：一个是显性的，通过谐音仿拟而成，在话语中出现，称为&仿语&；另一个是隐性的，不在话语中出现，但可为交际者感知，称为&原语&。

Therefore, you must know that Angelina Jolie and Brad Piff quarrel entertainment headlines, but also know that he has just divorced French political Bagua, the central bank must also know that interest rates again important to people's livelihood, the right to speak because there is no discourse center could not Forever.

所以，你既要知道Brad Piff和Angelina Jolie吵架的娱乐头条，也要知道法国总统刚刚离婚的政治八卦，更要知道央行再次调息的民生大事，因为没有话语权永远成不了话语中心。

Today, our film culture is still somehow recessive men-gaze culture. The feminism films of Yang Yazhou recessively illustrate the hard situation of women in this culture.

杨亚洲的女性影像创作，是男权话语隐性存在语境下对女性困境的隐性言说，是男权话语政治延续语境下对女性主体性的复归。

There is only the artist pinpoints that the subject consciousness of an individual should look into the numerous complicated social cultural problems to seek, in a certain survival and cultural context, for a recreative method to the individuality in an art language as well as other coexisting yet different individual speeches.

没有艺术&，是对艺术创作的风格、样式而言，没有原创性，没有建立在现代主义存在主义理论观念之上的乌托邦式的群体主体意识，艺术本体已不再能承担哲学观念化的具体社会意识化的重托；&只有艺术家，强调的是以个体的主体意识切入色彩纷呈、复杂多变的社会文化问题，在具体的生存与文化情境中寻找对艺术语言个性化再创造的途径，寻找与共存并置的其他艺术话语保持着差异的个性化话语。

"There is no art", referring to the artistic style and pattern, tends to say that there is no originality or the Utopian massive subject consciousness based on the modernist and existentialist theories. and, that tThe art subject itself can no longer carry the heavy burden of the philosophical ideation and a certain specific social ideation."There is only the artist" pinpoints that the subject consciousness of an individual should look into the numerous complicated social cultural problems to seek, in a certain survival and cultural context, for a recreative method to the individuality in an art language as well as other coexisting yet different individual speeches.

没有艺术&，是对艺术创作的风格、样式而言，没有原创性，没有建立在现代主义存在主义理论观念之上的乌托邦式的群体主体意识，艺术本体已不再能承担哲学观念化的具体社会意识化的重托；&只有艺术家，强调的是以个体的主体意识切入色彩纷呈、复杂多变的社会文化问题，在具体的生存与文化情境中寻找对艺术语言个性化再创造的途径，寻找与共存并置的其他艺术话语保持着差异的个性化话语。

More precisely, the secure bond that held together the moral theology of concupiscence and the obligation of confession (equivalent to the theoretical discourse on sex and its first-person formulation) was, if not broken, at least loosened and diversified: between the objectification of sex in rational discourses, and the movement by which each individual was set to the task of recounting his own sex, there has occurred, since the eighteenth century, a whole series of tensions, conflicts, efforts at adjustment, and attempts at retranscription.

更为准确的说，色欲的道德神学与忏悔的义务之间牢固的联系（等同于性话语理论与它的第一人称叙述），即使没有完全破裂，至少有所松懈与多样化。18世纪以来，从&性&客观化为理性话语，到每个人投入自身&性&的叙述的运动之间，出现了一系列的对峙，冲突、以及调整的努力与重新记录的尝试。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。